An Element Pictures production in association with Fís Éireann/Screen Ireland, the Broadcasting Authority of Ireland, and RTÉ Production Notes Directed by Paddy Breathnach Written by Roddy Doyle Starring Sarah Greene, Moe Dunford, Ellie O’Halloran, Ruby Dunne, Darragh McKenzie & Molly McCann IRELAND – 86 mins - 2018 Format DCP For further information please contact: Production Executive Publicity Emer O’Shea Nell Roddy +353 1 6185032 +353 1 6185032 [email protected] [email protected] ROSIE Production Information ROSIE is a contemporary drama from the pen of Roddy Doyle, the Booker Prize Winning author whose writing has been adapted into films that include The Commitments (1991), The Snapper (1993) and The Van (1996). His screenplays include Family (1994) and When Brendan Met Trudy (2000). He has authored many novels, theatrical plays, and short stories. ROSIE tells the story of a mother trying to protect her family after their landlord sells their rented home and they become homeless. Finding a room, even for a night, is a tough job and finding somewhere permanent to live is even harder. Over 36 hours, Rosie and her partner John Paul strive to maintain a loving home while shielding their young family from the reality of the situation around them. ROSIE examines how even in times of crises; the love and strength of a family can endure. Paddy Breathnach (I Went Down, Viva) directs ROSIE, a film that explores the quietly apocalyptic ramifications of Ireland's housing crisis, from a screenplay by Roddy Doyle. ROSIE stars Sarah Greene (Penny Dreadful, Rebellion, Black 47) in the title role, alongside Moe Dunford (Vikings, Black 47) as her partner John Paul. ROSIE introduces Ellie O'Halloran, Ruby Dunne, Molly McCann and Darragh McKenzie, as their onscreen children. Key crew include director of photography Cathal Watters (Peaky Blinders, Viva), production designer Mark Kelly (Dublin Oldschool), costume designer Louise Stanton (Sacrifice, Michael Inside), and editor Úna Ní Dhonghaíle (Ripper Street, The Crown). Music is composed by Stephen Rennicks (Room, Frank) ROSIE is produced by Emma Norton, Rory Gilmartin and Juliette Bonass. Roddy Doyle serves as Executive Producer alongside Ed Guiney and Andrew Lowe for Element Pictures, who previously brought us The Lobster and Room. Dearbhla Regan is executive producer for Screen Ireland. ROSIE was shot in and around Dublin, Ireland, and is backed by Fís Éireann/Screen Ireland, The Broadcasting Authority of Ireland and RTÉ. The Cast Rosie SARAH GREENE John Paul MOE DUNFORD Kayleigh ELLIE O'HALLORAN Millie RUBY DUNNE Madison MOLLY MCCANN Alfie DARRAGH MCKENZIE The Production Team Director PADDY BREATHNACH Writer RODDY DOYLE Produced by EMMA NORTON, RORY GILMARTIN, JULIETTE BONASS Executive Producers ED GUINEY, ANDREW LOWE, RODDY DOYLE Exec Producer for Fís Éireann/ Screen Ireland DEARBHLA REGAN Director of Photography CATHAL WATTERS Production Designer MARK KELLY Costume Designer LOUISE STANTON Editor ÚNA NÍ DHONGHAÍLE Music STEPHEN RENNICKS Casting LOUISE KIELY Synopses Logline (25 words) 36 hours with Rosie and her recently homeless family, as they try to maintain a normal life and stay afloat as their options run out. Short Synopsis (45 words) Rosie is a mother to four kids and partner to John Paul. They are a family without a home. Set over 36 intense hours, ROSIE is the story of a woman trying to protect her loved one’s and maintain their dignity in a deepening crisis. Medium Synopsis (91 Words) ROSIE tells the story of a mother trying to protect her family after her landlord sells their rented home and they become homeless. Finding a room, even for a night, is a tough job and finding somewhere permanent to live is even harder. Over 36 hours, Rosie (Sarah Greene) and her partner John Paul (Moe Dunford) strive to maintain a loving family unit while shielding their young family from the reality of the situation. ROSIE examines how, even in times of crisis, the love and strength of a family can endure. Longer Synopsis (293 words) ROSIE follows a brief, intense 36 hour period in the lives of a Dublin family (ROSIE, JOHN PAUL and their children KAYLEIGH (13), MILLIE (8), ALFIE (6) and MADISON (4)) who find themselves homeless after their landlord sells their rented home. At the heart of the story is Rosie. We watch as she searches for emergency accommodation while juggling the challenges of normal family life – the school run; washing clothes; toilet stops; snack time; homework. At first, Rosie manages to find a hotel room from the Social Welfare Housing list. It’s cramped and only for a night, but better than nothing. The next morning the search begins again. Despite Rosie’s best efforts, the strain takes its toll on the kids. At the end of school day, Kayleigh can’t be found. The search for a room is replaced by the search for Kayleigh. Eventually they find her at a friend’s, just metres away from their old home. The youngest kids think that they’ve come back to their old house and rush to the door. Confusion reigns and emotions run high. Rosie and John Paul do their best to keep spirits up, but are both confounded by the situation they’ve found themselves in. This shouldn’t be their life. Rosie keeps searching for somewhere to stay, but as the day draws to a close nowhere is available. Rosie and John Paul, determined not to split the family, finally accept that they have no choice but to find a quiet carpark and try to settle the four kids down for the night. The car is too small for all of them. Rosie lies next to her children, desperate that this is what things have come too; outside John Paul sits sentinel, watching his family as night falls. The birth of an idea Roddy Doyle was at home in Dublin one morning listening to the radio when a news item grabbed his attention. A young woman, who had no home, was talking about her attempts to find a place to stay for the night with her family. The eloquence with which she told her story of homelessness fascinated the Irish novelist, dramatist and screenwriter. Doyle was shocked when he heard that her partner had a steady job, yet they were still unable to find accommodation. “I found it extraordinary,” the writer recalls. “This was a story of an otherwise well-functioning family who don’t have anywhere to live. She told the story without getting emotional. Before she was finished, I realised there was a story here. I had been thinking about telling a story about the homeless crisis in Ireland.” Doyle retreated to his office and began sculpting a treatment for ROSIE. We start in the late afternoon. Rosie is attempting to find a hotel room for her family to stay that night. She eventually succeeds. Just in time. We follow her through the night into the following day, as she starts seeking accommodation all over again. As the day progresses, it becomes apparent she may not be able to find somewhere. “Rosie is the story of a young family made homeless through no fault of their own,” says Sarah Greene, who plays Rosie. “Rosie has four young kids and a partner. They’ve lived in a house for seven years but the landlord put it up for sale. We meet them two weeks after losing their home. It’s a story of loss, resilience. How the system and the government has failed them. This struggle is happening to lots of families in Ireland and globally.” Rosie's family is a loving unit. Rosie and her partner John Paul have been together since they were teenagers and take good care of their four children: Kayleigh (13), Millie (8), Alfie (6) and Madison (4). “You immediately like this family,” remarks Paddy Breathnach, director of ROSIE. “Roddy gives them nobility and dignity. This story celebrates the dignity of ordinary people.” Doyle nods: “They love their children. But they have nowhere to live. They haven’t had somewhere to live for two weeks and you can tell it’s beginning to affect them. It’s nibbling away at their stability. But for the fact they don’t have a roof over their head, there wouldn’t be a story to tell because they are a functioning family. They’re a typical young working class family… except they have nowhere to live.” Sarah Greene describes Rosie as a strong mother. “She’s very patient. Way more patient than I would be if I was in this situation. She’d do anything to protect her family and keep them safe. Lots of stuff from her past has happened to her, but she refuses to be broken and become a victim. She has a strained relationship with her mother and goes to her to ask her for help. But herself and her family are completely alone. They have no one else but each other. That’s why it’s important for them to stay together.” Doyle decided to set the story over the course of a day and half. Trying to find a room for the night, while caring for your small children, might seem like a mundane task, but when the spectre of homelessness is involved even small problems become quietly apocalyptic. Rosie is stuck in a groundhog day of phone calls, asking for accommodation, and receiving rejection. “Rinse and repeat every single day just to try and find a roof over their heads," says Greene. "Rosie spends her entire time in her car, on her phone, dropping off the kids, phoning hotels to try and find a place, then collecting the kids again.